by Ena Mulavdic
Jewellery design is one of the most appealing fields among arts and crafts. The abundance of different styles, techniques, variety of possible usages of materials, colours, not to mention the gemstones that additionally are enriching the man-made creation with the raw nature - enchants everyone who takes the plunge to step into the endless world of jewellery.
In this article an overview of one of the most intricate techniques, used for more than 8000 years, will be presented. Above-mentioned technique is carving/engraving gemstones, with a special reference to reverse carving in gemstones or negative intaglio. The engraving of gems for use as seals or as object of adornment is one of the oldest of man's art forms.
The art of gem engraving can be divided into two apparent types: cameo and intaglio (see figure 1). It should be noted that beside these two approaches, there is an in between technique, often called 'chevet' (or 'cheve', 'curvette', 'cuvette' or 'dished' in the UK) which implies that the figure is carved in relief within a concave or depression, typically into the table of a faceted gemstone (see figure 2). This way, the highest part of the finished cameo is level with the original flat surface. These kinds of artworks are related to the modern art era, or precisely, the beginning of the 20th century.
Figure 1. Intaglio and cameo - the oldest forms of engraved gems
Figure 2. An example of ‘chevet’ technique
On the other hand, the cameo refers to a subject that has been sculpted above the surface of the gem, appearing as a relief (see figure 3). Most of the time, cameos were bicolored or multicolored, where the structure and color properties of the gemstone were utilized for achieving the higher definition of the carving.
Figure 3. An example of cameo; A Roman onyx cameo with a bacchic scene, Imperial period, c. 1st century AD
The opposite of cameo technique is intaglio, which is made by grinding away material below the surface of the gem, leaving an inverse image (see figure 4). Details are achieved by varying the depth of the engraving. It is very interesting to mention that in the known history it was not recorded that the intaglio artists have been using magnification tools during the carving process, because it could be said that it is purposeless and impractical. The hands, cutting drills and the slurry of polishing compound are obscuring the carving in the process. Therefore, intaglio artists must rely on the feel and to sense the carving to achieve the final design. Months of continuous practice are needed to teach the one's muscular system to simultaneously 'feel' the carving by acknowledging the carved shapes, depths, polished and mat areas.
Figure 4. An example of intaglio; A Roman garnet ring-stone with Diomedes, Imperial period, c. late 1st century BC-1st century AD
The history of engravings in stones is as old as organized societies. It has emerged in that particular moment in history when man has developed economically and socially to a point where there was a need to seal its property. It could be said that the first attempts to engrave and carve the stones were related to the history of the seals. The first seal were introduced probably between 6500 and 6000 B.C. in Neolithic cities of Mesopotamia.
As a man is continuously mimicking the nature, it could be very interesting to mention that the first seals ever were worm-eaten wood pressed into clay, as the random pattern of these bits made each seal unique (see figure 5). As the animalistic and religious symbols were in the center of the ancient man, it is very logical to conclude that the first handmade engravings and intaglios were related to those symbols.
Figure 5. Worm-eaten wood
The first most important group of seals was the 'cylinder seals' (see figure 6). They are dating from around 3000 B.C., from the valleys of Mesopotamia and were suitable for signing documents, sealing goods for tax purposes and even as a trademark on objects such as pottery. Their shape was ideal for rolling around and sealing objects like bottles, jars etc.
Figure 6. Neolithic Mesopotamian cylinder seal
During the periods of Ancient Greece and Rome engravings reached a level higher than ever seen previously. Technical skills, imagination and creativity banded together, resulting in beautifully executed works of glyptic arts. The period between the death of Alexander the Great and the conquest of Greece by the Romans (323 BC - 139 BC) is important regarding the innovations in jewellery design. For the first time, it is possible to witness the evolution of a seal (often depicted as a scarab beetle) into the ring-stone. The engraving or seal (figure 7) was settled into the metal ring design, which marks the beginning of the signet ring era, which tirelessly continues even today 2022 AD.
Figure 7. Ancient Greek Rock Crystal Gold Swivel Signet Ring, Archaic period, circa 500 B.C.
Unlike the intaglio technique, there is a slightly similar, yet very different intaglio technique, which derived from ancient intaglio technique. Since the reliefs or sculptures are carved from the reverse side of the gemstone and the upper side remains intact, it is called reverse carving or negative intaglio technique (see figure 8). Intaglio, on the other hand, is designed to be viewed from the same side on which it is carved.
Figure 8. An example of negative intaglio sculptures by ELIRD Jewellery
Negative intaglio technique in jewellery design has a special appeal. Even though engravings and intaglios are such an ancient technique, the first coloured jewellery pieces with negative intaglios were seen during the Victorian era and are known as Essex Rock Crystal (see figure 9). Essex crystal jewellery pieces are formed from a rock crystal cabochon (a gem polished but not faceted), which refers to polished domes of rock crystal with a flat base. After, the motif or a figure is reverse carved into the flat base and then painted, to give the impression of a three dimensional object encapsulated in the cabochon when viewed from above. Front of a reverse carved piece remains untouched.
Figure 9. Essex crystal reverse intaglio butterfly set in 18ct gold with a natural ruby and rose-cut diamond border converted from a pin to a pendant, c.1880
Among the first ones who were using this interesting technique very successfully was Thomas Cook in the 1860s, whose artworks were sold by Lambeth & Co and Hancock's in London. The other name related to the same technique is artist William Essex (1784-1869), known for being an extraordinary painter, miniature artist and a great favourite of queen Victoria. Because of his status among the nobility, it is believed that this is the reason why the crystal rock jewellery with painted negative intaglios was named after him. The other famous name was William Bishop Ford, a student of William Essex, who created the well known 'fox head' (see figure 10) and other enamelled miniatures and painted negative intaglios during the late 1800s. However, according to some researchers Belgian artist Emile Marius Pradier was believed to have developed the negative intaglio technique.
Figure 10. Painted negative intaglio by William Bishop Ford, 19th century
The pioneers of negative intaglio technique have been using a mixture of oil and diamond dust alongside around 200 different steel tools to carve the design. After the intaglio sculpture was made and painted in reverse by a masterful maker, the flat side of the cabochon was usually placed onto a gold foil and a thin piece of plain mother of pearl backing. The tools used for painting the intaglios were often made by the master himself, since their quality needed to be extra fine and most of the time the brushes were thin as a single hair. When the painting and intaglio processes were finished, the cabochon was ready to be mounted on a piece of jewellery.
The most common jewellery and objects that contained painted negative intaglio crystals were brooches, pendants, stick pins, cufflinks, studs, buttons, rings etc. Essex negative intaglio crystals could be sorted by the themes that are depicted on the crystals. Most commonly seen themes and motifs on Essex crystal jewellery are: animals (mostly dogs, cats, racing horses, insects, birds, foxes, owls), flowers and nautical motifs. In the continuation few examples of Essex crystal jewellery will be presented.
Today, this technique could be rarely seen on jewellery, since it requires time, knowledge, experience and dedication. Regardless, this technique brings verve and ardor to those who witness it today. For example, one of the most innovative contemporary jewellery artists Wallace Chan has contributed to the negative intaglio technique in his genial way. In 1987 he invented and patented the 'Wallace cut' (see figure 11), which established him a status as a master sculptor. This is a technique based on reverse thinking, combined with precise calculation, gem faceting and 360-degree intaglio, to create multiple reflections. Wallace Chan also invented the tools to carry it out (by modifying the dental drills) and had to complete the carving process in water to prevent heat and tension, which would damage the stone. This invention creates a mysterious fourfold reflection on a transparent stone from one carved face at the stone's back.
Figure 11. The Wallace Cut
Other jewellery artists and (or) studios such as Irene Neuwirth, Francesca Villa, Sevan Bicakci or Yaroslav Argentov are using the negative intaglio technique which has its tradition deeply rooted into civilisation, as one of the oldest of man's art forms.
When we started our jewellery business, negative intaglio was one of the ancient techniques that we have decided to use and apply in our designs, because it was impeccably in accordance with the philosophy of our approach to jewellery design. Namely, by carving a sculpture from the reverse side of a transparent gemstone, it felt like the soul of the sculpture was engraved, rather than its' 'body'. This best relates to our mission to get to know, accept and transform our inner selves, to the stage where one achieves its full potential as a human being. The numerous potentials of this highly admired technique are yet to be discovered by the diligent jewellery artists who are not afraid to research, share, learn, implement the learned and innovate.
REFERENCES
Fred L. Gray, Engraved gems: A Historical Perspective, Gemological Institute of America, USA, 1984
Southerland B.B., The Romance of Seals and Engraved Gems, Macmilian Publishing Co., New York, USA, 1965
King C.W., Handbook of Engraved Gems, 2nd edition, george Ball and Sons, London, England, 1885 Wiseman D.J., Cylinder Seals of Western Asia, Batchworth Press, London, England, 1956
LINKS
https://www.wallace-chan.com/innovations/
https://www.lyonandturnbull.com/news/article/essex-crystal/
https://www.antiqueanimaljewelry.com/post/essex-crystal-jewelry/
https://chatsworthlady.com/2016/05/24/antique-essex-crystal-jewelry-animals/
https://www.wilson55.com/news/essex-crystal/
https://www.silvermangalleries.com/gallery/main.php?g2_itemId=10451
Disclaimer: ELIRD does not own any of these images, excluding one (1) image on Figure 8. Please note that all images and copyrights belong to their original owners. no copyright infringement intended.